Posts Tagged ‘Rishloo’

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Rishloo - Living As Ghosts With Buildings As Teeth

Rishloo – Living As Ghosts With Buildings As Teeth

Living As Ghosts With Buildings As Teeth is the crowd-funded reunion album from the incredible Seattle Progressive band Rishloo. Its their fourth full-length album overall and sees the band back together now that singer Andrew Mailloux has returned to the fold and the other bandmembers changed their separate crowd-funded new instrumental band The Ghost Apparatus back into Rishloo. Its been an interesting wait as a fan, but I won’t bury the lead… that wait was well worth it!

Consisting of just eight tracks with no intros, outros or hidden bonuses, this is the bands most succinct and concise offering to date, but you can file that under fat-free and lean rather than skimping on extras.

Stylistically; if you haven’t heard the band before, they are often compared to bands like Tool, A Perfect Circle, Coheed & Cambria, The Mars Volta, Porcupine Tree, Soen, Dredg, Fair To Midland, Jurojin, Cog, Karnivool, Circe, The Mayan Factor and others. No single comparison there really does justice to what you can actually expect, but if you understand the sort of common theme between all of those bands you can at least expect the right ballpark. On top of that, Rishloo are also constantly developing and evolving, and no two of their albums sound that much alike because they progress and change over time (while always retaining a certain core identity where you can still tell its them straight away) so even their own catalogue doesn’t necessarily train you for what to expect here. This album is stylistically a million miles from their 2004 debut Terras Fames, but in a way that makes sense and feels logical.

In that spirit, Living As Ghosts With Buildings As Teeth is no simple retreading of their back catalogue, nor any attempt to sound like someone else. On this album Rishloo sound like nobody but Rishloo. Even the previous Tool comparisons bounce limply off this album like wooden arrows off a tank. Hints is all you get, the rest is new. This record sees the band mix things up even more and explore different sounds, textures and combinations. Drew tries out new voices and styles he hasn’t used before, such as the deranged sounding heavy vocals in the middle of ‘Winslow.’ There are guitar styles a past fan wouldn’t expect. Things that only came up once on a previous album are given more time.

The rhythms are more disjointed and jarring. There’s even more playing in uncommon time signatures and switching between tempos; opener ‘The Great Rain Beatle’ is particularly jagged, its unhinged and yet hypnotic like some psychedelic nightmare and makes Mars Volta comparisons more understandable… its like the most jagged parts of ‘Scissorlips’ made into an entire song. So too is the jazzier single ‘Landmines’ in its heavier sections. Although that being said, towards the end from the guitar solo onwards that kicks into some beautiful, straightforward head-banging energy.

There are also more hints of classic ‘70s Progressive Rock here than there have been on previous albums, to the point where (deep and hidden) you get feelings of almost Tales Of Topographic Oceans era Yes sounds at some stages (such as the middle of ‘Dark Charade’), and the intro to ‘Salutations’ reminds me a little of Pink Floyd’s ‘Hey You’ and ‘Don’t Leave Me Now’ updated through some Radiohead and Deftones filters. There’s also five-second bursts of King Crimson influence all over the place in spidery Fripp-esque guitar runs crammed in there every now and again by the underrated Dave Gillet. None of it is overt though, its subtle, bubbling under the surface. Hints.

Its difficult to pick album highlights in such a well-crafted, concise and consistent body of work; ‘Dark Charade’ for example has THAT riff, and afterwards kicks off into an exciting build-up that feels like the sequel to ‘Downhill’ off of the previous record and ‘Dead Rope Machine’ is just so unique, its like every song has its own identity and something completely singular to offer. Gun-to-my-head I’d have to recommend that you check out ‘Winslow’ (which people who followed the whole Ghost Apparatus period might recognize) and ‘Just A Ride’ as your tester-songs to see whether or not you’d like the album. Jesse’s drums on those two are particularly excellent. ‘Just A Ride’ is the absolute perfect ending to this roller-coaster of an album and features the defining lyrics of this whole saga. That said, the whole thing works so well as a single journey that I almost feel bad picking favourites.

There are some things you can always count on Rishloo for; Firstly – interesting, poetic, provocative, intriguing lyrics. Secondly – powerful, emotional, evocative vocal performances. There’s also always interesting, spiraling, unexpected music that will defy initial expectations but feel ‘right’ once you’re used to it. Furthermore you can count on a certain arty air of mystique and most of all, quality songwriting depth that means you never get sick of the tracks, they just get better and better with each listen. Considering all these aspects, this new album is no exception to the rule, no misstep and no weak one in the set. This album has it all; whimsy, brooding, passion, intensity, subtlety, power, aggression, chilled out moments, virtuosic moments and scaled-back serve-the-song-not-the-player moments. Its got a strong sense of diversity yet feels like one cohesive whole throughout and a single journey (or ‘ride’) from start to glorious finish.

If you are a fan of the band then you unquestionably need this satisfying grower of an album. That may be a bit of a redundant sentiment but it’s the absolute truth; I know that if you are an existing fan of the band then you probably crowd funded The Ghost Apparatus or pre-ordered the record already and got rewarded with early access downloads, so recommending it to you seems like preaching to the choir… but if you haven’t checked out the band yet, or were waiting for the reviews then by all means please do give this a chance. This album is just as good as their previous work and if you give it enough spins to reveal its subtleties and hidden depths you will be greatly rewarded.

Oh, and if you enjoy it make sure to go back and check out the rest of their records too!

*** Side note: If you are a regular reader of this blog and generally agree with most of my taste in music, or like any of the comparison-bands, you can consider checking out this band as a personal favour to me. That’s how much I recommend them! ***

lagwbatLARGERishloo, the band you might’ve noticed me blogging about several thousand times since starting this blog, have got to the manufacturing/postal stage of their new fourth album/reunion record “Living As Ghosts With Buildings As Teeth.”
As a thank you to pre-orders and crowd-funders (like myself), you can download the record from their official site. Its a very happy day.

I’ll save a review for a while since their albums are always such growers and don’t fully reveal themselves right away even if amazing on first listen already.

But I needed to post something, because I am so excited.

What I’m Enjoying These Days

Posted: September 25, 2014 by kingcrimsonprog in Uncategorized
Tags: , , , , ,






Hello and welcome once more to yet another edition of my blog series, Get (Into) What You Paid For; a series in which I blog about music and media I own, to distract myself from the fact that I am sworn off buying anything new for a month (or in this case, two months).

Its day 52. 52 days without buying myself anything. I think that’s a new record. I don’t think, since getting my first job at 16, ten years ago, that I’ve ever went this long without buying something along the lines of a book, cd, dvd, videogame etc. for myself. I’m a big old spoiled Western consumer of the hardest core.

I’m also tempted to break my pledge not to buy anything because Batman Contagion is on eBay at the minute for only £4 and that’s been on my wishlist for a year now. Time will only tell if I break my resolve and buy it. Maybe someone else will buy it first and the problem will go away.

I’ve also saw in town a shop selling In The Court Of The Crimson King on Vinyl. Its £17 though, and for my use of it as merely a poster for my wall, that’s not worth it. Why is no one selling it used for £3? Anyway…

Its been an excellent few weeks. I’ve been eating super healthy (constant soups full of dozens of veg, and smoothies full of dozens of fruit and veg, adding spinach to normal meals, eating less meat, massively reducing my intake of junk food, almost giving up chocolate completely) and I’ve been exercising a lot (going for walks almost daily, lifting weights frequently). Most of this was in the sun and away from the city, but even this last week when I did return to the city, I’ve kept it up. I even kept it up yesterday on my first day back at Uni. Next week, with a return to work, and full-week Uni, will be the real challenge.

At any rate, everyone is telling me I’ve lost weight. To the point where I actually believe it. Take home message: get more vitamins and go for walks = Thin Jim. Hopefully I can keep it up.

During this time, I’ve been experiencing the delights of Manowar, the new Down EP, a whole heap of Accept, some early Savatage, and trying out Minor Threat.

I’ve also been gifted a butt-load of comics related stuff which I shall try tonight after weightlifting. Those two things, lifting and comics, (with a healthy dose of Hammerfall in the background), should help me stay off eBay and avoid breaking my pledge.

Also, my house mates got me the newest Judas Priest and Trivium albums, as well as Ozzy’s Tribute live album with Randy Rhodes, and Soundgarden’s recently reissued debut EP, Screaming For Life/Fopp. I’ll deny myself these goodies now, and open them in a month, so I have something to look forward to in a month, and hopefully that will stop me buying any new music between now and then. Even if buying Raven or Tank albums on iTunes is tempting….

Anyway; here’s what else I’ve been up to, in order to distract myself from my materialism.

First off, for my own entertainment, and your information, I’ve complied the following list:

Albums I Have Fallen Completely Obsessively In Love With, in roughly chronological order of it happening:

Protest The Hero – Kezia
Gallows – Grey Britain
Helloween – Keeper Of The Seven Keys Parts 1 & 2
Queensryche – Operation Mindcrime
Accept – Stalingrad
Rishloo – Feathergun
Chimaira – The Infection
Mastodon – Crack The Skye
Kiss – Alive
Genesis – The Lamb Lies Down On Broadway
Jethro Tull – Thick As A Brick
Gentle Giant – Octopus
Pink Floyd – The Wall
Arctic Monkeys – Whatever People Say I Am’
Forbidden – Forbidden Evil
Megadeth – So Far So Good So What
Anthrax – Among The Living
Pantera – Vulgar Display Of Power
Powerman 5000 – Tonight The Stars Revolt
Jetplane Landing – Once Like A Spark
The Libertines – S/T
Mudvayne – The End Of All Things To Come
Slipknot – S/T
Green Day – Warning

I also had huge Led Zeppelin, Nirvana, Napalm Death and Monster Magnet periods, but no single album ended up getting the focus of that huge obsession. Zyklon, Carpathian Forest, Mars Volta, Riverside and Gamma Ray are all almost up there for an album each (Aeon, Defending The Throne Of Evil, Ochtahedron, ADHD and Land Of The Free) but I can’t bring myself to fully commit to writing them down for some reason. Motley Crue’s Theater Of Pain is kind of getting this way at the minute so we’ll see how it pans out, its probably the newest name on the list. Some that are up there have faded, but some are as strong as ever.

Now here’s what I’ve been distracting myself with recently, excluding the aforementioned birthday gifts (I’ve been absolutely hammering Manowar, and that new Fratellis album):









I really like the Alice In Chains demo “Social Parasite” …its quite good fun.

I’m thinking of digging into some really under-listened albums next, like the Napalm Death covers albums, Anathema’s Falling Deeper, Sodom’s debut, Fear Factory’s Soul Of A New Machine and Forbidden’s Green. Then I think, maybe I listen to them so little because they aren’t good.

I remember going back and listening to all my Nu Metal albums like Static X and Spineshank and Ill Nino for a similar reason, but I never blogged about it because I was so snowed under with Uni essays at the time. I found that to be be a worthy exercise for surprise enjoyment (“Ostego Undead” is more fun than I remember), so maybe listening to records that I think of as duds may prove worthwhile too.

I’ll let you know what I chose. Right now I’m off to lift weights while watching the Justice League cartoon. See you soon…

Hello and welcome once again my friends to the show that never ends this fourth round of my “Get (Into) What You Paid For” challenge, in which I attempt to not buy anything for a month, and reevaluate my opinion of records I bought previously but never really became a true fan of, taking this purchase-abstinence as a chance to finally “get my money’s worth” out’ve the more undervalued albums in my collection. That; and present thoughts and musings that don’t fit elsewhere on the blog.

Its now eight days into the challenge and yup…didn’t cave last night and buy anything. I don’t think I’m all that tempted at the minute. Maybe I am though. Who knows, maybe I’d sneak in during the middle of the night and buy Girls Girls Girls on eBay? I listened to Accept’s Balls To The Wall yesterday, that made me pretty tempted to pick up Restless & Wild actually. Ok…so maybe there are temptations. Get off my back!

A lot of my blog viewing this week has featured Savatage…maybe I’ll just quickly get the albums of theirs I’m missing?

No. Stay strong!… Ok. So. You’ll be glad to read (unless you’re an Amazon employee) that I didn’t do any of that. I’ve still been listening to that Motely Crue album I mentioned yesterday. Also a lot of Pantera. Boy do I enjoy Pantera. Sometimes you take them for granted and ignore them, and then all of a sudden you are refreshed and hear them again and its all like “Wow…how good are Pantera guys? Seriously!” as if it’s the very first time again. Excellent, timeless, brilliant band.

In non-music realms, I’ve been reading Batman Cacophony, a title (written by Kevin Smith) that I picked up and read over half a year ago but haven’t blogged about yet, but I’ve kept that in a separate post, in the Amateur Batfan series. Temptations-wise? Maybe I might buy Kevin Smith’s work on Green Arrow or Daredevil? I am curious… but, no, not now. Its still just Batman time for me.

So, what else is new then?

I’ve been reading a lot online today about the best selling Metal albums of all time. I would like to see how Avenged Sevenfold and Slipknot compare to Dokken and Quiet Riot…how Dream Theater did, if Anthrax or Exodus ever went platinum over time… things like that.

A few of the places to check out are: here and here, and also here. Furthermore, there’s here and here and here.

What I found out however is that there are massive, massive, massive differences in opinion/supposed facts/plain old lies about how well certain albums sold. Here are some examples of such disputed sales figures:

AC/DC – Back In Black: 49 x platinum (or 25/40 as reported elsewhere)
Pink Floyd – The Dark Side Of The Moon: 45 x platinum (or 22 as reported elsewhere)
Led Zeppelin – Led Zeppelin IV: 37 x platinum (or 29 as reported elsewhere)
Nirvana – Nevermind: 30 x platinum (or 26 as reported elsewhere)
Bon Jovi – Slippery When Wet: 28 x platinum (or 12 as reported elsewhere)
Guns N’ Roses – Appetite For Destruction: 28 x platinum (or 18/21/30 as reported elsewhere)
Linkin Park – Hybrid Theory: 24 x platinum (or 10 as reported elsewhere)
Metallica – Metallica: 19 x platinum (or 16/30 as reported elsewhere)
Pink Floyd – The Wall: 17 x platinum (or 30 as reported elsewhere)

How can there be such discrepancies? Some of these are nearly double the amount! That’s not something you can mistake in your bank account, or shipping company traffic.

Here are other some surprises however:

Kid Rock – Devil Without A Cause: 11 x platinum
Limp Bizkit – Significant Other: 7 x platinum
Limp Bizkit – Chocolate Starfish and the Hotdog Flavored Water: 6 x platinum
Quiet Riot – Metal Health: 6 x platinum
Guns N’ Roses – Greatest Hits: 5 x platinum
Guns N’ Roses – GN’R Lies: 5 x platinum
Alice in Chains – Dirt: 4 x platinum
Black Sabbath – Paranoid: 4 x platinum
Nine Inch Nails – The Downward Spiral: 4 x platinum
Linkin Park – Meteora: 4 x platinum
Disturbed – The Sickness: 4 x platinum
Godsmack – Godsmack: 4 x platinum
Metallica – Kill ‘Em All: 3 x platinum
System of a Down – Toxicity: 3 x platinum
Queensryche – Empire: 3 x platinum
Tool – Aenima 3 x platinum
Rage Against the Machine – Rage Against the Machine: 3 x platinum
Rage Against the Machine – Evil Empire: 3 x platinum
Cinderella – Night Songs: 3 x platinum
Cinderella – Long Cold Winter: 3 x platinum
Papa Roach – Infest: 3 x platinum
P.O.D. – Satellite: 3 x platinum
Audioslave – Audioslave 3 x platinum
Ozzy Osbourne – Diary of a Madman: 3 x platinum
Ozzy Osbourne – Bark at the Moon: 3 x platinum

P.O.D, Cinadrella, Papa Roach and Disturbed stand out to me as odd. These guys all sold more than Slipknot? My perspective is way off. They all sold equal to System Of A Down…really? Also, I never, ever thought Godsmack would be that successful… You just do not hear of those guys over here in the UK (Godsmack’s record here is MORE Successful than Black Sabbath, RATM and Ozzy Osbourne? Really?).

Tool sold so many despite being so proggy and weird? Good on them!

RATM sold so few relative to this list despite the enormous crossover appeal?

What’s with the large gap between Metallica albums? If you like Metallica enough to buy Ride The Lightning, why not buy Kill ‘Em All too?

Significant Other sold more than Chocolate Starfish? – It really didn’t feel that way at the time.

Audioslave?

Queensryche did that well? Why were they so unheard of two years ago?

An unwanted, cover-song-filled GNR compilation so, so late in their career outsold Toxicity and Meteora? They seemed sooooo famous at the time to me, while that compilation seems so throw-away.

But anyway, enough about sales.

DT – A

Here’s something to reevaluate. Dream Theater’s 1994 album, Awake. It’s their third album, it’s the third of theirs that I heard if memory serves. I heard Metropolis’ and didn’t like it (this has since changed), then I heard Images & Words and liked that, then I bought a boxset and listened to the other albums in that; which included Awake, Falling Into Infinity and Train Of Thought.

The album opens up with drums on their own, and kind of reminds me of Jethro Tull’s ‘No Lullabye’ in a very vague way. Opener “6.00” comes in and samples say “Six O Clock On A Christmas Morning” in a way that is sort of cool because they made it rhythmic and part of the song like Ministry might do, but also slightly annoying. Sometimes this part is offputting and sometimes I love it, depending on my mood. They pulled the whole samples and randomness thing off way better on the previous album during “Take The Time.”

I like the keys, this actually feels like there is a lot of 70s Prog in it. The drums are nice and flashy and awkward. Its kind of, with the exception of the pre-chorus though, its kind of cooler to appreciate than to actually enjoy. You sit with your minds eye, casting it over the different things going on, focusing for a second on each, like watching Slipknot on stage with your real eyes, and that process is fun. The song isn’t as good on the ears as that process is on the brain however.

I like it during the middle during the “Inside coming outside” bit where it goes a bit Misplaced Childhood. After this point the song is pretty bad-ass actually. The solo and the parts underneath are all excellent.

Much like Theater Of Pain I kind of think this album-opener is a bad choice. Its doesn’t set up a good first impression. I think you have to know you like the song before you hear it to trust it, otherwise its just gimmicky and overly bouncy without being memorable. Its not. But it seems that way until the half-way point if you are unfamiliar. It should be buried later in the album, where it would be the exact same song, but better, because you’re already warmed up. Do you follow?

Next up comes “Caught In A Web.” I didn’t know that at the time, because as a rule I think I hate “Caught In A Web.” I hear some Dream Theater song though… The first minute…awesome. (Well; awesome except the synth… a weird seering synth over the top that feels like its mocking me. I had problems with Camel’s fifth album in the past, when the toplines mocked me even when the bottom was cool. The bottom of this song during the first minute or two is awesome, but boy-o-boy do I dislike that top-part.)

Anyway, the first minute is more or less great. Nice, the same excellent sound from their previous record Images & Words, but maybe a little tiny bit slower and with a tiny bit more Pantera creeping into things. Then a really ugly, ugly, sheen-y chorus which just doesn’t fit. Oh, I guess its “Caught In A Web.” Damn, I don’t like it anymore…I think?

It then bounces into a cool Alternative Metal/Groove Metal riff that really reminds me of Pantera and Pissing Razors a lot. Then there’s bits when they prog out on that riff and it sounds like Death and Opeth because of the long winding, ever-shifting guitar lines aspects. The whole mid section is fabulous. The drum build-up is cool, the Eastern-tinged keys are cool, the guitars are rhythmic and interesting.

I often think I dislike this song, but this song is fabulous, its just got the wrong chorus for my tastes. I’d love to edit the chorus out of it, and then it would be one of my favourite Dream Theater tracks.

Next up comes “Innocence Faded,” which opens like some sort of Tennis Match montage music. Its clean and commercial and not unpleasant. It then goes down into a quiet, diamondy sort of sound like Donkey Kong Country levels in an Ice Cave. The next bit is cool, kind of Genesis-reminiscent. The chorus is a bit “nothing” …a sort of swing-and-a-miss, but there are many other cool parts. LaBrie is awesome around the 2.05 mark. The drums are nice and flashy between there and the chorus too. Very nice. After that there’s some very 80s Rush sounds. Rush albums later than Moving Pictures. I like it. Its not very Metal in any way, but in and of itself, its nice. It kind of reminds me of Van Halen’s “Jump” and Genesis’ “Turn It On Again” combined in some sort of The Fly situation.

The instrumental “Erotomania” is next. A lot of Van Der Graaf and King Crimson influence here. It opens sounding like a warning siren on a train track. Its quite nice to sit and concentrate on, but not really background music. Queensryche and Tool, and even Mastodon can make Prog that you can not even notice is all that complex if you don’t pay attention. This is more like The Mars Volta in that…no one’s mistaking that for simplistic. It gets really cool from 2 minute mark onwards, all these parts are way cooler than the start part. Its interesting the mix of 70s Prog, with 80s sounds and then also even a bit that sounds like its trying to be Zeppelin’s “The Rain Song” hidden in there in the background. Its also cool when it goes Neoclassical a minute later. This is the sort of thing you listen to a hundred times and never truly hear the same thing twice. I think two fans can hear it and their brains will tell them two completely different things depending on how closely each guy is paying attention.

The brief Metal bit towards the end, but before the repetition of the bits from the start, is cool. Also, the actual end-end really, really reminds me of both “The Trees” by Rush, and the bit in “2112” by Rush where it transitions from the heavy bit to the soft bit where the character discovers the guitar.

The lengthy “Voices” follows up. It is thunderous and reminds me quite a lot of “Suite Sister Mary” by Queensryche during the opening, but its a lot more technical and multi-faceted. It builds up quite slowly over almost the first three minutes, there’s sort of a “Don’t Leave Me Now” by Pink Floyd vibe to that build.

The those same bright ugly keys from the “Caught In A Web” chorus come in. The Metal bit which follows is really rather neat. I hear bits that would influence Protest The Hero in there. The ugly chorus is ugly to me. There’s a touch of the “Caught In A Web” problem, where this one part is causing a false impression of a good song and lowering my overall impression of it accidentally. Even though the rest of it is deadly, like the following part with double-kicks. I like the talk-boxy solo a little while afterwards. That whole section is excellent. The only problem I have is that this song really feels like an album-closer. But its track 5 of 11. Well it makes me want to stop listening because the record is obviously finished, only it isn’t, is it?

This album has a problem of being in the wrong order. That’s my diagnosis.

Anyway, next comes the brief, perfect ballad, “The Silent Man.” It is excellent; succinct, tasteful, memorable and interesting. Its just right, not too cheesy. A few more tiny hints of Zeppelin’s “The Rain Song” hidden in the mid-section. Deceptively varied and creative vocals. A neat little guitar lead. All good stuff.

“The Mirror.” Opens up in a huge and obvious Pantera tribute. Parts seems practically lifted whole-sale from “Domination” and “Walk.” Then it speeds up and some Phantom of the Opera chase keys come it, its all very intriguing. Then a fun guitar line that I’m sure inspired Avenged Sevenfold follows, the drums are fast and Metal. Back to Pantera.

I think this is my favourite song from the album. Maybe that’s just because I like Pantera so much? Interestingly though, its all the bits that don’t sound like Pantera which really make it cool though. I think I’ll change my iTunes tracklist of this album so that this and “6.00” switch places. This would be a much better opener.

It seamlessly transitions into “Lie.” That means “Lie” and “Caught In A Web” will have to switch places too, oh well.

“Lie” is really strong. Apparently it was a single. Its catchy enough. I love the Mary/Contrary/Promise/Doubting Thomas bit. That was always the one bit of the record that stuck out in my mind. I’ll have to remember that this song is the one with that in it.

Hey! A bit that sounds like Tool! That riff underneath the bit about leashes is reminiscent of Undertow-era Adam Jones. This is a nice song. Also the groove at 3.30 and the subsequent complex bit with the solo are possibly the most enjoyable Dream Theater moments that I’ve heard which aren’t on Images And Words. Skip to the 5-minute mark and yeah! That’s what I want to hear. This song is top notch! Yes, these two songs would make a much better album opener, get the blood pumped, the enthusiasm up, and then I’m ready to accept “6.00” because I’m in the mood now.

“Lifting Shadows Off A Dream” comes next, all broody, and seems as if its going to be Queensryche’s “I Don’t Believe In Love” for a few seconds, until it reveals its true intentions. Its almost a ballad, its almost a big build up. Its almost Hogarth-era Marillion. Its none of these things, its its’ own tasteful pop song with a lot on small toms and splash cymbals. Its kind of sprawling…its like King Crimson’s “Starless” in structure, but much, much, much, much more clean and bright and commercial. It sounds like a basket ball team in a movie winning its first victory whilst the dad shows up to see his son for the first time because he’s finally learned what’s important in life.

“Scarred” follows that. Also sprawling. Slightly jazzy flavoured but without any actual jazz. Full of mischief. Threateningly full of potential. Which way will it go? – Lots of ways it would seem. Groove parts. Staccato Metal parts (various ones in fact). Clean syrupy pop parts. Numerous time-sig changes. It’s a real “Hey, we can do a lot of stuff and we’re good at our instruments” piece. The clean chorus is a lot less lame than in either “Caught In A Web” or “Voices” though.

Then there’s another kind of chorus which feels like its got a sort of grunge influence. A touch of the “Evenflow”s about it, ey?

Do you know when bands say that their heavier stuff is heavier and their lighter stuff is lighter…this actually is. There’s not much on Images And Words that’s overly syrupy. Anyway… There’s also nothing as heavy as the part between the guitar solo in the 7-8 minute bracket.

Also, why does nothing Dream Theater ever play sound like Yes? I was promise Metallica meets Yes. Whoever promised me that (Classic Rock Presents Prog Magazine) doesn’t listen to much Yes… or Metallica for that matter.

This song could benefit from lots and lots of repeat listens, because there’s tons of cool parts to enjoy, but its lack of purpose or structure make first-impressions a bit confused.

Finally comes depressing album closer “Space Dye Vest” which I already know that I enjoy, but will listen to here anyway. Its moody, its tasteful, its got samples that are mechanical sounding instead of dialogue. Ok, actually it does have diagloue samples too… something Anathema do a lot actually… this reminds me of the whole Anathema rant about “Death is not the opposite of life, death is the opposite of birth, life is eternal.” I guess a woman is not a possession then, sample guy. Anyway, the end of the song is fantastic.

Ok. That was the album.

What do I think? Four awesome songs in “The Mirror,” “Lie,” “The Silent Man” and “Space Dye Vest.” The rest… good bits, but not good songs, or maybe good songs with bits that aren’t to my taste. Except maybe “Erotomania” which is good but just has an intro that makes me think I won’t like it.

Meh… Its worth owning. I think a lot more listens are required before it hits me properly. Or maybe, its just a case of I should listen to half of it a lot and ignore the other half because I could listen to better music instead? Who knows…

Hope that was entertaining. Now, continuing the theme established yesterday, and based on this article’s inclusion of the Prog Metal band Dream Theater… here are some Top 5s from some Progressive Metal bands in my collection:

Coheed & Cambria :
1. Apollo I: The Writing Writer
2. Far
3. No World For Tomorrow
4. Key Entity Extraction I: Domino The Destitute
5. Key Entity Extraction V: Sentry The Defiant

Dream Theater:
1. Take The Time
2. Metropolis Prt 1 The Miracle And The Sleeper
3. Strange Deja Vu
4. Honour Thy Father
5. The Silent Man

The Mars Volta :
1. Cotapaxi
2. Cygnus….Vismund Cygnus
3. Vedamalady
4. Goliath
5. Day Of The Baphomets

Mastodon :
1. Blood And Thunder
2. The Czar
3. This Mortal Soil
4. I Am Ahab
5. Crusher Destroyer

Porcupine Tree :
1. Anesthetize
2. Drawing The Line
3. Normal
4. The Sound Of Musak
5. Deadwing

Protest The Hero :
1. Turn Soonest To The Sea
2. Sex Tapes
3. Skies
4. Mist
5. Dunsel

Queensryche :
1. Revolution Calling
2. Roads To Madness
3. Where Dreams Go To Die
4. Murder?
5. My Global Mind

Rishloo :
1. Downhill
2. Weevil Bride
3. Alchemy Alice
4. Scissorlips
5. El Empe

Riverside :
1. Hyperactive
2. Celebrity Touch
3. Second Life Syndrome
4. Rainbow Box
5. Egotist Hedonist

Savatage :
1. Hall Of The Mountain King
2. Castles Burning
3. Believe
4. Edge Of Thorns
5. Of Rage And War

Tool :
1. 10,000 Days
2. Jambi
3. Eulogy
4. Ticks And Leeches
5. Vicarious

There’s dozens of others in my library, but for one reason or another I don’t feel comfortable choosing a Top 5 for them.

Rishloo, my favourite band in the world, (suitable for fans of Tool, Mars Volta, Porcupine Tree, Coheed & Cambria, Cog, Amplifier, The Dear Hunter, The Mayan Factor, Soen etc.), have released a new song from their long awaited reunion album Living As Ghosts With Buildings As Teeth. I am a keen kickstarter contributor to this album, I have a Vinyl of their previous album Feathergun up on my wall as decoration, and I advise all my readers to give them a listen.

I haven’t been as excited about new material since Queensryche got together with Todd La Torre, that’s how big a deal this is.

Official KCP recommendations: Listen to this, encourage it, give it lots of views, get into the band, buy all their albums, go see them live.